However, because younger singers present higher energy in the 5-8 kHz region relative to the remaining frequency bands as compared to older singers, it seems that Fado-Canção may be drifting towards non-classical vocal practices. The FCP in Fado-Canção, although smaller than for the two classical opera singers' examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. Results show that Fado-Canção is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading.
Given that Fado-Canção, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer's formant cluster, the averaged LTAS for all Fado-Canção singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq) (2) spectral differences between 3 frequency bands 0-2, 2-5, and 5-8 kHz and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP).
Royalty free opera music professional#
The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Canção. The mean LTAS spectrum slope between 7Hz decreased by about 0.2dB/octave per dB of equivalent sound level.ĭescriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Canção, a related style sung in Coimbra. However, the Colorful Face role singers' LTAS showed a marked peak near 3300Hz, somewhat similar to that found in Western pop music singers. Long-term-average spectrum (LTAS) curves showed no trace of a singer's formant cluster.
Royalty free opera music series#
Spectra of vibrato-free tones contained unbroken series of harmonic partials sometimes reaching up to 17 000Hz. Vibrato rate was about 3.5Hz, that is, considerably slower than in Western classical singing. Some of the intervals between these peaks were similar to those used in Western music. Histograms showing the distribution of fundamental frequency showed marked peaks for the songs, suggesting a scale tone structure. Sound pressure level, fundamental frequency, and spectrum characteristics were analyzed. Recordings were made of the singers' speech and when they sang recitatives and songs from their roles.
Audio and electroglottograph signals were recorded for four performers of the Old Man role and three performers of the Colorful Face role. Singers in the classical Peking opera tradition specialize on one out of a limited number of standard roles.
Acoustic characteristics of classical opera singing differ considerably between the Western and the Chinese cultures.
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